Actualizado en  septiembre de 2023   

Volume 6 / Issue 1
[gris]September 2010[/gris]
Genocide: eyewitness of films
[gris]ISSN 1553-5053[/gris]


How does one weave the thread of everyday occurrences in a story where history has ravaged and devastated (these memories)? What do we make of a painful and ruined past that is yet a subject of current importance, given that none of its wounds are healed? Such is the type of question that inspires the film Everyday Stories, by Andres Habbegger. It searches for answers among the children of victims of state terrorism in Argentina. The work reflects on the statute of memory and justice in the figure of the Disappeared, as a subject which is obliterated nearly all the way to the tomb. The Disappeared has the social status of a specter: he is a restless corpse that persists in the present day because he has no grave, because there is an unsolved crime whose perpetrators remain silent and at liberty.

The Politics of Memory

Relating to the film Everyday stories (H) of Andres Habbegger

Copyright/Permisos: Los/as autores/as conservan los derechos de autor © y permiten la publicación a Aesthethika, bajo licencia CC BY-SA / Reconocimiento - Reconocimiento-CompartirIgual 4.0 Internacional. La adopción de esta licencia permite copiar, redistribuir, comunicar públicamente la obra, reconociendo los créditos de la misma, y construir sobre el material publicado, debiendo otorgar el crédito apropiado a través de un enlace a la licencia e indicando si se realizaron cambios.

Genocides: The Witness of Cinema

Genocide: Silence, Justice and Transference

The Politics of Memory

About Roberto Benigni’s film La vita è bella

Life is not beautiful, it’s life

“Sophie’s Choice”: The Lethal Factor


aesthethika // Revista internacional de estudio e investigación interdisciplinaria sobre subjetividad, política y arte